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Be ready to learn more. If

11:20

you recognize this song, I'll bet you

11:22

watched a lot of Netflix in 2023.

11:25

It's not a radio or chart hit.

11:30

It's called Greenback Boogie. It's

11:32

by the band I'm a

11:34

Robot. And it is better

11:37

known as the opening theme to the

11:39

TV show Suits. Suits

11:44

was a television phenomenon this

11:47

year. This pulpy

11:49

legal drama, which first

11:51

aired in the 2010s

11:53

and co-stars future abdicated

11:55

princess Megan Markle, set

11:57

a record in the Nielsen ratings. Suits

12:01

was the number one

12:03

most-watched show on streaming

12:05

TV in 2023 for

12:07

a dozen consecutive weeks.

12:10

I'm Rachel Zane. I'll be giving you your orientation. Wow,

12:13

you're pretty. Good. You've hit on me.

12:15

We can get it out of the way that I am not

12:17

interested. No, I'm sorry. I wasn't hitting on you. Trust me.

12:19

I've given dozens of these and without fail,

12:21

whatever new hotshot it is thinks that because

12:23

I'm just a paralegal, that I will somehow

12:25

be blown away by his dazzling degree. Let

12:28

me assure you, I won't. No,

12:30

Hit Parade did not suddenly

12:33

turn into a TV

12:35

recap podcast. The

12:37

reason I mention Suits is,

12:39

in the world of television, Suits

12:41

is a second-chance hit. From

12:44

2011 through 2019,

12:47

it was a modest success

12:49

on the USA cable network,

12:51

drawing solid, if unspectacular, ratings

12:53

that were good enough by

12:55

the standards of basic cable

12:57

to get the show renewed

12:59

for multiple seasons. This isn't

13:01

elementary school. This is hard

13:03

work. Long hours. High pressure.

13:05

I will work as hard

13:07

as it takes to become

13:09

the best lawyer you have ever seen. Suits,

13:12

a new original series. Then,

13:14

in 2023, four years after

13:16

it went off the air,

13:19

Suits got picked up by

13:21

the streamers Netflix and Peacock.

13:24

And, like a Taylor Swift song made

13:26

new again, it exploded. Lock

13:28

the door. Are

13:31

you serious? Yes, I am. I'm locking the door. And

13:35

here's the thing. Nobody really

13:37

knows why Suits did this well

13:39

in 2023. Sure,

13:42

there's the Meghan Markle factor.

13:45

But she dated and married

13:47

Prince Harry years ago. The

13:50

show was still on the air

13:52

back then, and ratings at the

13:54

time didn't hugely improve. This

13:57

year, the summer writers and

13:59

actors strikes dried up content

14:01

creation in Hollywood, which did

14:03

make Suits on Netflix seem

14:05

fresh. But there was

14:07

still plenty on TV. Most of the

14:10

impact of the strikes will be felt

14:12

next year. Basically, the

14:14

chart-topping success of Suits

14:17

is happenstance, a delightful mystery.

14:19

A new audience tried

14:22

it, and it just caught

14:24

on. Now, hold that

14:26

thought while I turn back to

14:28

music in the charts. Let's

14:30

ponder this kitschy novelty hit,

14:33

which came back more than

14:35

once. Monster

14:47

Mash, the creepy comedy

14:49

classic by Bobby Boris

14:51

Pickett and the Crypt

14:53

Kickers, first topped the Hot

14:55

100 in October

14:58

of 1962, just in

15:00

time for Halloween. But

15:02

then the song came back from

15:04

the dead a decade later. In

15:06

1970, a new record label

15:09

acquired the rights to

15:12

Monster Mash. They

15:20

reissued it in the late summer of

15:22

1970, a few months

15:24

ahead of Halloween, and it

15:27

re-entered the Hot 100, but

15:29

for just three weeks, peaking

15:32

at number 91. So,

15:34

nice try, right? Hang

15:36

on, the story doesn't end

15:39

there. Three years later,

15:41

in 1973, Monster Mash

15:43

reappeared one more time on

15:46

the Hot 100. In May, yes, May, record

16:00

label wasn't doing anything special to

16:02

promote it. Monster

16:04

Mash just caught on at

16:06

a couple of Milwaukee radio

16:09

stations and then started spreading

16:11

nationwide. By June, it had

16:13

climbed back into the top 40. Casey

16:16

Kasen counted it down. Bobby

16:19

Pickett and his Crypt Kickers took this one all the way

16:21

to number one in the year Had

16:23

a minor hit with it in 1970. Got

16:26

into the low 90s. Once

16:28

again it's a hit at number 16, the

16:30

Monster Mash. That

16:44

year, Monster Mash wound up cracking the

16:47

top 10 for a second time, peaking

16:49

at number 10 in August 1973, nearly

16:51

a decade after it hit number one.

16:58

And by the way, it was

17:01

out of the top 40 by

17:03

mid-September, nowhere near Halloween. You

17:06

may be asking, what the… and

17:09

honestly, I've got nothing. Research

17:12

in Billboard magazine from the period

17:14

reveals where the song broke but

17:17

not why. Among

17:19

chart fans, theories abound. Some

17:22

say Bobby Pickett's record was

17:24

benefiting from the coattails of

17:26

Edgar Winters' early 1973

17:29

number one hit, Frankenstein, which

17:31

we discussed in our instrumental

17:33

hits episode of Hit Parade.

17:48

That's certainly plausible, but it's

17:50

only a theory. Others

17:52

say the revival of early rock and

17:54

roll on the charts in 1973 was

17:57

benefiting 50-years. and

18:00

early 60s records. Kitchy

18:02

hits like Monster Mash

18:04

sounded natural coming after,

18:06

say, Elton John's throwback

18:08

smash Crocodile Rock. I

18:13

will close out of the

18:15

dark. Again,

18:24

this is logical but

18:26

not provable. Perhaps

18:28

there just is no one

18:30

reason why Monster Mash became

18:32

the big second chance hit

18:34

that it did in 1973,

18:38

any more than the second wave

18:40

success of Suits on TV in

18:43

2023 is explicable. Honestly,

18:46

sometimes the public just collectively

18:49

decides they want to hear

18:51

an old record again, as

18:54

we discussed in our Legacy Hits

18:56

episode of Hit Parade, about

18:58

songs that never had success on

19:01

the charts but are now

19:03

well known anyway. There

19:18

may be a specific reason these

19:20

songs come back, or there may

19:23

be multiple reasons. For

19:25

example, Billy Idol's White Wedding.

19:27

It's both a Legacy Hit because it

19:30

never went very high on the charts,

19:33

and it's a Second Chance Hit because

19:35

Billy Idol's label tried multiple times to

19:37

get it up the charts. The first

19:40

try in 1982, it bubbled under the

19:42

Hot 100 at number 108. The

19:47

second try in 1983, it barely cracked the

19:49

pop 40 at number 36. while

22:00

Cheryl and Sarkeesian. I

22:03

got you babe, I

22:06

got you babe, Baby,

22:10

don't be afraid. That,

22:13

of course, is I Got You

22:16

Babe, the number one hit that

22:18

made Sonny and Cher famous across

22:20

the country. Now, Sonny

22:22

and Cher had switched record labels

22:25

before I Got You Babe, but

22:28

their old label Reprise Records

22:30

could now benefit from the

22:32

duo's stardom. So

22:34

Reprise reissued, Baby, don't go.

22:48

And this time it became

22:50

a big hit, reaching number

22:52

eight on the Hot 100,

22:54

just two months after I

22:56

Got You Babe peaked. This

22:59

is a classic bring back hit

23:01

technique. In the 70s,

23:03

the pop duo Captain and Tennille

23:05

thought that this would be the

23:07

hit that broke them. You

23:10

were ancient, you were shared,

23:12

you were shamed, you were

23:14

born and you were married,

23:17

you were like, you were... They released

23:19

The Way I Want to Touch

23:22

You three times in 1974. Most

23:26

of the Captain and Tennille self-released

23:28

it, then on two different labels.

23:31

It did get them signed to the

23:33

major label A&M Records, but

23:36

for all the buzz, The Way I

23:38

Want to Touch You generated no chart

23:40

action. Then, in the summer of

23:43

1975, they

23:45

recorded this proto-Yacht Rock jam. I'll

23:47

be begging of you, I'll

23:50

give my all and let love

23:52

be my today. Love

24:00

Will Keep Us Together was a number

24:02

one smash and the top song of

24:04

1975. Within

24:07

weeks of it peaking on the

24:09

Hot 100, A&M went right back

24:12

to that earlier single. You

24:14

are sunshine, you are

24:16

daddy sunshine, you are the morning,

24:19

you are the day, you are

24:21

the night, you are the night. And

24:24

the way I Want to Touch You

24:26

finally became a smash, reaching number four

24:28

in the fall of 75 and going

24:30

gold. In

24:33

the case of both Sonny and

24:35

Cher and the Captain and Tennille,

24:37

each duo was at the very

24:40

beginning of their career. But

24:42

the leveling up hit can

24:44

happen to an artist deeper

24:46

into a career. Say

24:49

this legend who was on

24:51

his fifth album. I

24:54

want to touch you,

24:56

baby. When

25:03

Prince dropped his 1999 album in the

25:05

fall of 1982, the first single was, naturally, the immortal

25:08

title track, an

25:14

arena-sized bop about dancing

25:16

away nuclear holocaust. But

25:19

Prince was in the process of

25:21

crossing over from R&B to pop

25:23

and rock audiences in 1982. And

25:27

1999, the single, stiffed on the Hot 100 in late

25:29

82, peaking at number 44. Picture

25:36

it, this party classic missed

25:39

the top 40 entirely

25:41

at first. But

25:53

then, the album's second

25:55

single proved irresistible to

25:57

listeners across the spectrum.

26:10

Little Red Corvette became Prince's

26:12

first ever top ten popular,

26:14

reaching number six in May

26:17

of 83. So,

26:19

just weeks later, Warner Brothers, Prince's

26:21

label, went right back to the

26:24

single that had flopped just six

26:26

months earlier. We

26:38

debuting on the Hot 100 in June, 1999 climbed all the

26:40

way to number 12 the second time. Prince

26:47

would not miss the top 40 with

26:50

the lead single to an album for

26:52

another decade. Mind

26:54

you, not all level up second

26:56

chance hits succeed. For

26:59

example, also in 1982, punk

27:01

legends The Clash chose this

27:04

classic as the first single

27:06

from their album, Combat Rock.

27:10

Sorry, you can't do that, Meato. Should

27:19

I stay or should I go only

27:21

reached number 45 in the summer of

27:23

82. So,

27:26

next, they went with something

27:28

even more danceable. The

27:39

new wave banger, Rock the Casbah,

27:41

it reached number eight in the

27:44

winter of 83. The

27:46

Clash's only top ten hit. Suddenly,

27:49

The Clash were platinum sellers for

27:51

the first time in their careers.

27:54

So, wouldn't you try that

27:56

first single again? I'm

28:01

not. Epic

28:07

Records actually reissued Should I Stay

28:09

or Should I Go. The

28:11

new 45 even had a different

28:14

catalog number, as if the first

28:16

release never happened. And

28:18

the second time, Should I Stay

28:20

or Should I Go reached number 50. But

28:24

the consolation prize, Should I Stay or Should

28:26

I Go, is now the

28:28

Clash's legacy hit, with nearly

28:31

a billion Spotify plays, three

28:33

times the streams of Rock

28:35

the Casbah. But Should I

28:37

Stay or Should I Go, way back in 1982 and 83, was not a

28:39

second chance hit. Should

28:45

I Stay or Should I Go Now.

28:54

The level up can also

28:56

happen even when a song's

28:58

artist doesn't become a superstar

29:01

himself. Speaking of superstars.

29:15

The title track from Jesus

29:18

Christ Superstar, Andrew Lloyd Webber

29:20

and Tim Rice's Rock Musical,

29:22

took three tries to become

29:24

a hit. Murray

29:27

Head's Superstar single only reached number

29:29

74 in early 1970. Then,

29:33

later in 1970, the

29:36

musical's concept album became a

29:38

word-of-mouth hit, and the LP

29:40

finally topped the album chart

29:42

in early 71. The

29:45

single came back a second time, peaking

29:47

at number 60. And

29:50

finally, after a third try.

30:03

Superstar, the song, finally cracked the

30:05

top 40, reaching number 14 in

30:07

May 1971. Murray

30:12

Head didn't become a household

30:14

name. He would go a

30:16

decade and a half before scoring another

30:18

hit with One Night in Bangkok. But

30:22

by mid-71, the album Jesus

30:24

Christ Superstar was a household

30:27

name. What was the

30:29

leveling up? Second

30:31

Chance hits can also happen late

30:33

in an album cycle. Here

30:36

we are, man! Here

30:40

we are! Here we

30:43

are! Here we are! Paula

30:47

Abdul's It's Just The Way

30:49

That You Love Me was

30:51

both the second single and

30:53

the sixth single from her

30:56

blockbuster Forever Your Girl album.

30:58

In 1988, it only made the R&B chart and

31:00

missed the Hot 100 entirely. Then,

31:06

after Abdul scored three straight

31:08

number one hits in 1989,

31:10

straight up Forever Your Girl

31:13

and Cold Hearted, The

31:15

Way That You Love Me was re-promoted,

31:17

given a new music video

31:20

and a slight remix. And

31:33

on that go-around, The Way That

31:35

You Love Me became a number

31:37

three hit. Post-stardom

31:40

level-ups have continued right into

31:42

the 21st century. Consider

31:45

the case of Lizzo, whose 2017 single

31:48

Truth Hurts took two

31:51

years and placement in

31:53

a Netflix movie before it became

31:55

a number one smash in 2019.

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two, media exposure.

34:39

Movies, TV shows, even

34:42

adverts and trailers all

34:44

can take a previously underperforming

34:46

hit and give it another

34:49

shot. For example, as we

34:51

discussed in our R&B Queens

34:53

episode of Hit Parade. ♪

34:55

The first time ever I saw your face ♪ Roberta

35:06

Flack's hypnotic take on the

35:08

folk standard the first time

35:10

ever I saw your face

35:12

was transformed by the Clint

35:14

Eastwood movie Play Misty for

35:16

Me. From an obscure deep

35:19

cut to a smash single that spent

35:21

six weeks at number one on the

35:23

Hot 100 in 1972. To

35:28

be fair, the first time only

35:30

became a single because of the

35:32

movie. By contrast, a

35:35

decade later, this fiery

35:37

duet between Patti Austin

35:39

and James Ingram was

35:41

issued as a single.

35:44

♪ Baby come to me ♪

35:48

♪ And I'll run to you if this was

35:51

meant to be ♪ And

35:54

it had flopped in early 1982 before

35:57

it was revived by the soap opera.

40:00

Format evolution. With

40:03

rock songs in particular, the

40:05

recording industry tends to try

40:07

pushing them on rock fans

40:09

first before attempting to cross

40:11

them over with pop fans.

40:14

One example from half a

40:17

century ago is this stalwart

40:19

guitar jam. Eric

40:32

Clapton's side project supergroup,

40:34

Derek and the Dominoes,

40:36

confounded the charts at

40:38

first. Layla, Clapton's

40:41

seven-minute screamer about coveting

40:43

another man's wife, was

40:46

promoted to album-oriented rock

40:48

or AOR radio, but

40:51

it was also issued as a three-minute

40:53

1971 single,

40:56

with the song divided in

40:58

half for pop radio airplay.

41:01

Apparently this is not the

41:03

way folks want to hear

41:06

Layla, which famously shifts

41:08

tempos and turns into

41:10

a piano elegy halfway

41:12

through its seven-minute running

41:14

time. The

41:28

subdivided Layla single could only

41:30

manage a number 51 peak

41:33

on the Hot 100 in 1971. A

41:37

year later, to promote a

41:39

Clapton anthology LP, the single

41:41

was reissued at its full

41:44

seven-minute length, squeezing all those

41:46

minutes onto one side of a 45. And

41:48

that version

41:51

scaled the Hot 100, peaking

41:54

at number 10 in the summer

41:56

of 72, finally turning

41:58

Layla from a rock. rock staple

42:00

into a pop hit. Something

42:03

similar happened to the first

42:05

major hit by flute-inflected

42:08

progressive rock band Jeff

42:10

Rhodes Hall. In

42:23

1969, Living in the

42:25

Past was a number three hit

42:27

in the band's native UK, but

42:30

in the United States it

42:32

was only pushed to AOR

42:35

stations as a promotional single.

42:37

It was not until late

42:40

1972 that this Jethro Tull

42:42

song was commercially promoted in

42:44

the US as the lead

42:46

single and title track of

42:48

a compilation album, also titled

42:50

Living in the Past. This

42:53

finally got Living in the

42:55

Past, the song, onto the Hot

42:58

100, where it peaked at

43:00

number A

43:15

decade and a half later, the

43:18

metal band Guns N' Roses launched

43:20

with a similar shift from AOR

43:22

to pop radio, and

43:25

this second chance hit was

43:27

both a format-evolver and

43:30

a post-stardom level-up. Geffen

43:41

Records spent almost a year from mid-1987

43:43

through early 1988 trying to break GNR's

43:50

demonic Welcome to the Jungle

43:53

on the radio and MTV,

43:55

after they finally nudged Jungle to

43:58

number 37. was

46:00

breaking up. Nor was

46:02

it free as a bird, or

46:04

now and then, singles put together

46:06

decades after John Lennon's death from

46:09

sog and fragments he left behind.

46:12

No, the last Beatles top ten,

46:15

while all four fabs still roamed

46:17

the earth, was this 1966 jam-turned-1976

46:19

smash. I

46:29

was alone, I took a ride, I didn't

46:31

know what I was saying. In

46:35

1966, Paul McCartney's

46:37

Motown homage, Got to Get

46:39

You Into My Life, was

46:41

a track on the Beatles'

46:43

Revolver LP. Ten years

46:46

later, Capitol Records reissued the

46:48

song as a single to

46:50

promote the dubious, kitschy, and

46:53

mostly forgotten Beatles compilation called

46:55

Rock and Roll Music. The

46:58

LP may now be a footnote,

47:00

but Got to Get You Into

47:02

My Life sounded as fresh on

47:04

the radio in 1976 as

47:07

it did on vinyl in 1966, and

47:10

the track peaked at number seven on the

47:12

Hot 100. Got

47:22

to Get

47:25

You Into My Life Another

47:31

mid-70s promotional reboot came

47:33

from Daryl Hall and

47:35

John Oates. Let's remember

47:37

them as a harmonious duo,

47:39

shall we? As

47:51

we discussed in our Hall and

47:53

Oates episode of Hit Parade, the

47:55

soulful She's Gone was first issued

47:57

as a single on the album.

48:00

Atlantic Records in 1973. By early 74, it had

48:02

only reached number 60 on the Hot 100. Three

48:09

years later, after Hall &

48:11

Oates had switched to RCA

48:13

Records and started scoring hits,

48:15

their former label Atlantic, looking

48:17

to earn back their Hall

48:20

& Oates investment, reissued

48:22

both the abandoned Luncheonette

48:24

LP and the She's Gone

48:27

45. This

48:31

time, She's Gone reached

48:36

number 7 on the Hot 100, and by the fall of 76, the

48:38

album re-entered

48:47

the LP chart, cracked the top

48:49

40, and went gold. We've

48:52

also seen failed singles rebooted as live

48:54

hits. In 1977, Cheap Tricks' I Want

49:00

You to Want Me was the

49:03

lead single from their studio album

49:05

In Color, and it went

49:07

nowhere. However, when recorded

49:09

live at Japan's Budokan Arena

49:11

in 1978, I

49:27

Want You to Want Me became a

49:29

smash, reaching number 7 in 1979, giving

49:31

Cheap Trick their first major

49:35

American hit, and

49:37

turning their Cheap Trick at

49:40

Budokan live album Platinum. Or

49:43

how about a rebooted single

49:45

from A Greatest Hits album?

49:47

For the Cars' 1985 Greatest

49:49

Hits LP, the band remixed

49:52

a track from their 1981

49:54

album Shake It Up, called

49:56

I'm Not the One. Together

52:00

by New York folk rockers The

52:02

Young Bloods was first released. It

52:05

peaked at number 62. Two

52:08

years later, WABC DJ

52:10

Dan Ingram used

52:13

Get Together as background music

52:15

in a promo for a

52:17

Brotherhood program. It was

52:19

subsequently picked up for a public

52:22

service announcement by the National Conference

52:24

of Christians and Jews. As

52:27

a result, Get Together was reissued as

52:29

a single and hit number 5 in

52:31

1969. Groovy, man. No,

52:35

he can't. My only brother, everybody gets a

52:38

girl. Have

52:41

a little one another

52:44

right now. DJs

52:46

are famous for this sort

52:48

of proactive hit picking. In

52:51

1978, after

52:53

Gloria Gaynor's single substitute had

52:55

bubbled under the Hot 100

52:57

and fallen off, DJs rescued

52:59

the single by playing its

53:01

B-side, I Will Survive, and

53:03

making it a 1979 number

53:05

1 hit. But

53:20

as powerful as DJs are,

53:22

nothing is more powerful than

53:24

the wisdom of crowds, as

53:27

we have seen in the streaming and

53:29

social era of the last decade. Numerous

53:32

hits have been rebooted

53:34

by viral memes in

53:36

the internet age, including,

53:38

famously, Fleetwood Mac's Dreams,

53:42

a 1977 number 1 hit

53:45

revived in 2020 by a

53:47

TikTok video of Nathan Apodaca

53:49

skateboard surfing the back of a

53:52

truck while drinking a bottle of

53:54

ocean spray. dreams,

54:12

a hit originally during the

54:14

Carter administration, re-entered the Hot

54:16

100 in the last

54:18

year of the Trump administration, and

54:20

peaked the second time at number

54:22

12. Lady

54:25

Gaga's song, Bloody Mary, originally

54:27

released in 2011, was

54:30

revived on TikTok a decade

54:32

later by TikTok users mashing

54:34

up the song with a

54:36

dance sequence from the Netflix

54:38

series Wednesday. The reanimated

54:41

Bloody Mary re-entered the Hot 100 in

54:43

2022 and hit number 41. And

54:59

Tyler the Creator's song, See

55:01

You Again, featuring Kali Uchis,

55:04

originally released in 2017, took

55:06

off on TikTok in 2023.

55:11

Tyler was so inspired by

55:13

the social reboot, he joined

55:15

Uchis on stage at Coachella

55:17

in April So,

55:20

earlier this year, See You Again hit

55:22

the Hot 100 at number 44. Last

55:36

but most certainly not least

55:38

among our categories, there's one

55:40

more kind of second chance

55:42

hit that, in the streaming

55:44

era, has become the biggest

55:46

bring back chart trend of

55:48

all. And, again, it's

55:51

why we're covering this topic

55:53

in December. Category

55:55

6, seasonal perennials.

56:00

As I explained in

56:02

two prior holiday episodes

56:04

of Hit Parade, only

56:06

in the streaming era

56:08

have we

56:16

fully grasped just how big

56:18

Christmas music is. We

56:20

knew these songs were perennials, but

56:23

only when we had data

56:25

on just how many times

56:27

Americans play these songs every

56:29

December. Did we realize

56:31

Christmas songs come back at Drake

56:33

and Taylor Swift levels every 12

56:36

months? Later

56:46

in the show, I'll cover the

56:48

two holiday bops by women we'll

56:50

just call Mariah and Brenda for

56:52

now that have done the

56:55

best in the annual Christmas chart

56:57

tsunami. But for now,

56:59

I'm highlighting Andy Williams' It's the

57:01

Most Wonderful Time of the Year,

57:04

because its arrival in the

57:06

top ten in 2018, for

57:08

the first time ever, was

57:11

arguably the moment we realized

57:13

holiday hits that do not

57:15

sound like contemporary pop could compete

57:17

on the Hot 100 of today.

57:21

The only charts Andy Williams'

57:24

seasonal standards touched back in

57:26

their day were Billboard's special

57:28

Christmas music surveys. But

57:31

in the last five years, not

57:33

only has Most Wonderful Time cracked

57:35

the Hot 100, it has risen

57:39

as high as number five,

57:41

powered by Spotify data. As

57:44

I speak in 2023, Most

57:46

Wonderful Time is back on the

57:48

chart at number eight again. These

57:52

days, Andy Williams charts better

57:54

than Pharrell Williams. There's

1:02:05

a reason Bowling Green State University is

1:02:07

ranked number one in Ohio for student

1:02:09

experience. Our in-demand degrees and

1:02:12

life design program prepare students for

1:02:14

their first career and their next.

1:02:16

With an unparalleled support system at

1:02:18

a national research university, BGSU offers

1:02:21

an unrivaled experience, all on a

1:02:23

vibrant campus in one of America's

1:02:25

best college towns. It's

1:02:27

also why Bowling Green State University is

1:02:30

the number one school in the Midwest that

1:02:32

students would choose again for the fourth year

1:02:34

in a row. There's a

1:02:36

reason Bowling Green State University is

1:02:38

ranked number one in Ohio for

1:02:40

student experience. Our in-demand degrees and

1:02:42

life design program prepares students for

1:02:44

their first career and their next.

1:02:46

With an unparalleled support system at

1:02:49

a national research university, BGSU offers

1:02:51

an unrivaled experience, all on a

1:02:53

vibrant campus and one of America's

1:02:56

best college jobs. It's

1:02:58

also why Bowling Green State University is the

1:03:00

number one school in the Midwest that students

1:03:02

would choose again for the fourth year in

1:03:04

a row.